Alec Smith 2014-2019
Alec Smith
B. Arch Graduate pursuing a career in the Experiential Graphic Design field (757) 642-7837 alecgs11@vt.edu linkedin.com/in/alecgsmith issuu.com/alecgsmith behance.net/alecgsmith
Education 2015 - 2019
Virginia Tech B. Architecture | College of Architecture and Urban Studies
2014 - 2019
Virginia Tech BFA (Visual Communications Design) | School of Visual Arts (double major but did not complete)
Study Abroad Spring 2018
Chicago Studio Semester long domestic program hosted by VonWeise Associates, Booth Hansen, Liederbach and Graham, and Studio Gang, with a professional practice class at HOK. Combined work experience with fourth year architecture courses.
Fall 2017
European Study Abroad (Architecture) 9 week travel experience of studying and documenting architecture through sketching, photography, and writing.
Summer 2017
European Study Abroad (Visual Communications Design) 3 week travel experience with a focus in studying signage and wayfinding systems as well as participation in graphic design exercises and workshops. Notably a 2 day typesetting workshop at the Tipoteca Italian Foundation.
Work Experience Spring 2018
Studio Gang | Chicago, Illinois 4 week internship following a semester of an integrated design studio at host firm Studio Gang. Assisted in the production of structural and conceptual models, competition graphics, and architectural drawings.
Awards & Recognitions 2017
Robert L. Turner Scholarship
2016
Virginia Tech Second Year Architecture Competition 1st Place
2016
G. Preston Frazer Architecture Award
2015
William H. Hahn Merit Scholarship
2014 - 2019
Dean’s List
Skills Digital Softwares: Adobe Creative Suite, AutoCAD, Revit, Rhino, Sketchup, Sefaira
Tangible: Hand Modeling, Wood Shop Machines, Metal Shop Machines, Welding, Laser Cutter, CNC Router, Sketching, Drafting, Digital and Film Photography, Drawing, Painting, Printmaking
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001, Iterations of a first year model studying grid densities. 002 Detail of second year competition board that provides a sense of scale. 003 Early sketch of sculpture theater. 004 Charlie Kelly. 005 The façade of the wilderness cabin being used in a unique way by the scouts. 006 Master plan of the original canopy design. 007 Alec Smith cutting rebar for the canopy foundation. 008 Logan Healy on site during the pouring of the canopy’s concrete foundation. 009 Conceptual drawing of the occupation of the physical manifestation of a grid. 010 Collage communicating the contradictory interpretations of interstitial space, such as the social distance between entities that can arouse ambivalent feelings between attraction and repulsion. 011 Collage addressing forms that relate to grids but don’t explicitly communicate gridness. 012 Portion of an analogue poster. 013 Sketch of Rococo figure.
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Contents 6-7
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Lines, Planes, Volumes First Year 4 Weeks This project involved a heavily iterative process that explored the multiplicity of lines, planes, and volumes as they’re situated in a 3 dimensional construct. As a studio we placed all models in relation to each other and considered the possible treatments of the order that was created as designs developed. In addition to the element and order studies, this particular design gave attention to the concept of phenomenal transparency through surface manipulation and the composition of elements. 014, 015 Photographs of students negotiating how to address the many datum lines in the compound. 016 Arial view of compound with my contribution
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on the corner, designated with the arrow. 017 Earliest iteration. 018, 019 Introduction of the concept of phenomenal transparency through surface manipulation to reveal conditions beyond the surface and acknowledge the order of the surrounding modules. 020, 021 Introduction of a cylindrical volume which I eventually located to emphasize the corner at which my model was placed within the compound. 022 Final iteration. 023, 024 Upon completion, we considered the possible construction of our models when scaled up in detail by studying joinery. 025 Orthographic projection of final iteration.
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2nd Year Competition First Place 1 Week The prompt of this competition was to design a mausoleum and meditation chapel in a bare and isolated area of Blacksburg, VA. By pushing the boundaries of what could be considered a wall, and by questioning the treatment of stairs and apertures, I was able to bring a considerable amount of individual experiences to the spaces. To introduce a sense of order to what was originally a more conceptual design, I employed a regulating system that used grids. I then systematically applied proportions to create a relationship between the two spaces, then also
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between those spaces and the site. While developing these ideas, I greatly considered the experience of interacting with the structure, which led to processional and material decisions that unified the structure. The security of the architecture is accentuated through the use of thick concrete walls, which is contrasted with the delicate treatment of light through crevasses and water features to ensure tranquility. Spatial treatments such as compression and expansion and declination and ascension are applied to communicate the transitioning from life to death.
026 The final submission to the competition including: atmospheric plans and sections, a site plan, details of light and water features, concrete formwork, and diagrams of the proportional system employed. 027, 028, 029, 030, 031, 032, 033, 034 Transformation studies conducted to explore how the two programs relate and overlap through the translation, rotation, skewing, and reflection of proportions. 035 Axonometric drawing of the mausoleum and meditation chapel with some walls and roof removed.
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Georg Kolbe Second Year
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4 Weeks This sculpture theater, situated within a fictional pine forest, is an exploration of the exchange of meaning due to the web of dialogues between nature, human figures, and architecture. The design invites observers to examine the work of the German sculptor, Georg Kolbe. This particular selection of Kolbe’s work is viewed through a historic lens, which is suggested by the treatment of material in the built environment and architectural placement of his sculptures 043, 044 Junger Streiter (1935) within the built design and 045 Tanzerin (1912) in the forest. The monumental treatment of the Junger Streiter sculptures, created under the influence of the Third Reich, is juxtaposed with the more freely sculpted and placed Weimar Period piece, Tanzerin. This contrast is a comment on the historical contexts during which each sculpture was created, suggesting ambivalent feelings towards restriction and liberty. Contradictions regarding autonomy are explored through the form and material of the gallery and the location of programs and placement of sculptures. The idea of a cinematic experience is also explored by applying the filmic concept of blocking to the placement of figures within space, which reinforces the drama of the architecture as a theater. 036 Site plan with white shapes indicating the placement (from left to right) of the Tanzerin sculpture, the Junger Streiter sculptures within the built gallery, and parking lot. 037 Atmospheric plan and section of the built gallery. 038 Formwork for material study involving local trees. 039 Study model showing how the local trees may be introduced into the design to create a relationship between the built and immediate natural environment. 040 Study model of the treatment of the Junger Steiter sculptures to achieve a sense of monumentality and heroicism. 041 Gallery massing. 042 Gallery with roof removed. 046 Site model showing the placement of the Tanzerin sculpture and gallery among the pine trees.
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Kelly’s Dwelling 050
Second Year 5 Weeks The main focus of this project was to establish a narrative to which the entire design must adhere. The eccentric, inexperienced playwright who lives in the building and runs the bookstore and theater drove this particular narrative. Because of such an odd inhabitant, I was able to explore how every interaction with architecture is a performance, and how mundane activities can be made theatrical through the treatment of architectural elements. In addition to the narrative of the inhabitant, the narrative of the building within the context of downtown Blacksburg was considered as well, drawing much inspiration from the bar scene associated with other local businesses. Formally, the building follows the datum lines of adjacent buildings. Because of the idea of mimicry in the architecture, as well as the idea of theatrical performanc-
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es, the building is populated with appropriated qualities of surrounding conditions. 047 Photo collage of streetscape as seen from the back parking lot. 048 Sketch of streetscape with highlighted datum lines and other site information. 049 Site plan with the white shape being the new architecture. 050 Building plan and ordering systems used to inform the footprint. Radial systems were enforced in addition to proportional systems intended to communicate the dynamisms of the architecture as an apparatus for performance. 051 Oblique projections of the building. Separately, they indicate the individual programs, together they communicate how the architectural layout allows for the operation of a theater play by a single individual. These particular drawings were produced in Rhino as a sort of mockery of the digital medium as such drawings cannot be produced from a 3-d model. Such mockery and humor is present in the design of the building as well through its outlandish narrative. 052 Composite collage of digitally produced renderings. 053, 054, 055, 056 Excerpts from Dram Bok, including: 053 “poizen hare sop,” 054 “Bird Teeth,” 055 “Wermhatt,” and 056 “Denahom Chikn,” which were methodically referenced to understand the building’s intended occupant.
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Camp Deerfoot Third Year
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6 Weeks This wilderness campground design is located on Trout Lake, North Carolina and is intnded for the Camp Deerfoot Scouts. The program calls for cabins that can provide housing for troops of 6-8 scouts and 1-2 council members per cabin. The goal is to negotiate the slope and heavily forested nature of the site with a design that can be easily constructed. It is also important to instill a sense of routine and responsibility on the scouts. different areas of the design are intended for certain uses, whether it’s sleep, discipline, or play. 057 View of lake from forest looking South. 058 View of lake from the shore looking West. 059 Site map showing paths, topography, existing buildings. 060 Early sketches of the design, testing how to address the change in elevation through modularity. 061 Site plan with layout of cabin complex. 062 Physical model viewing the cabin from the Northeast.
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Camp Deerfoot Because of the importance of designing a structure that can be easily constructed, modularity was the main concept driving this design. Therefore the construction materials include standard scaffolding and lumber to allow for easy construction and manipulation by scouts. The use of scaffolding is also a reaction to the slope of the site as it allows the cabin to remain level, providing stilts for the cabin to sit upon. The linearity of the materials strengthens the building’s connection to the site, as they provide a visual and conceptual relation to the surrounding trees. The cabin also explores modularity, linearity, and repetition by promoting routines through its processional influences and order. The design’s lack of comfortable sights of the lake from within the cabin encourages the scouts to leave the cabin to explore nature. This achieves sense of discipline as certain parts of the structure have specific purposes. Additionally, the jungle of scaffolding below the cabin
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allows an opportunity to expand the architecture, but also provides an area for play and devious activities out of the councilors’ sights. 063 Sketches of the modular assembly of the walls and joints between scaffolding and floor logs. 064, 065, 066, 067, 068 Photos of physical model. 064 Plan of individual cabin with beds. 065 Overall view of the cabin from the West. 066 Gridded order of the scaffolding. 067 Perspective of the narrow procession into the cabin addressing the linear order that dictates the movement into the sleeping area. 068 The quality of light that seeps into the cabin due to the gaps in the floor design. The openness of the floor also reinforces the desire to connect scouts to nature. 069 Exploded wall construction drawing showing the layers of the modular assembly. 070 Assembly drawing of the walls and rain screen. 071 Composite drawing of cabin including an elevation and a collage that diagrams the possible uses of the cabin by its scouts.
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Harding Ave. Elementary Third Year 4 Weeks The goal of this design was to create a comfortable space and rain guard for students as they wait for busses and parent pickup after school. Through this program, the project attempts to expose the dual interpretations of canopies as both interior and exterior spaces. The canopy design achieves these contradicting sensations of being indoor and outdoor through transparency, boundaries created by rain runoff, and redundancies such as operable windows. Such ambiguity of a space’s interiority may be an opportunity to enhance the experience of the space, especially across temporal and seasonal changes. 072, 073 Original study models exploring lexical relationships in architectural languages. The vocabulary of these models is linear
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T-pins and string, and volumetric rockite which relate to the elements of the canopy design. 074 Existing Harding Avenue Elementary School student pick up area and entrance. 075 Model of master plan. 076 Preliminary diagram of master plan. 077 Elevation and section drawings showing how the bench is an extension of the “foundation,” as a seat can be interpreted as a foundation for humans. 078 Section showing how the profile of the canopy roughly mirrors the profile of the building. This communicaties a relation to the site and suggesting a sense of interiority. 079 Model of portion that is assisted by tension cables connntected to the foundation. 080 Profile view of canopy from the bus entrance.
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Design-Build Spring 2017 - Spring 2019 My design for the Harding Avenue Elementary School Canopy was selected to have a full-scale prototype built at the Research + Demonstration Facility as a design-build project executed by the entire studio. Note: The majority of photographs were taken by Susan Jung. 081 View of the excavation for the foundation with rebar and wooden formwork. 082 Concrete Mix Design Template used to ensure the target results. 083 Professor Bill Galloway, our fearless leader in the design-build effort, surveying the site. 084 Students Cutting rebar for the foundation. 085 Student preparing the jigs
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that secure the anchor bolts in the foundation. 086, 087 Students setting formwork for the foundation. 088, 089 Finished formwork for foundation and jigs securing anchor bolts. 090, 091 Slump test. 092, 093, 094, 095, 096 Concrete foundation pouring. 097 Students screeding the surface of the foundation. 098 Mock-up of how 2x4’s will be anchored to the bench to provide for a more comfortable seat. 099 Mock-up of bench for sense of scale. This mock-up also tests the possibility of charring the 2x4’s for a more desirable color scheme and to protect the wood. 100 Formwork for final bench design.
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Design-Build
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101 The leveling the site with the Bobcat after the foundation was set. 102 The foundation upon which the benches will be placed and steel members will be anchored. 103 Detail drawing of operable window and final dimensions of steel tubes, which quadrupled in thickness from the original design due to structural necessities. 104 Students and faculty measuring steel tubes to be cut to size. 105 Placing the steel onto the saw using a powerful magnet. 106 Angling the saw to achieve the proper form of the steel tubes. 107 Student welding two steel members together. 108 The flipping of the steel members with the assistance of the welding jig to ensure consistency in Tube positions and safe movement and transportation. 109 Erected steel members at RDF site. 110 Steel members laid out with myself as a sense of scale. 111 Drawing of welding jig. 112 Constructed welding jig in use, aiding in the flipping of the steel members to ensure proper welds on both sides of the steel members.
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Chicago Studio Fourth Year Integrated Design Studio 1 Semester Partner: Atharva Ranade Host Firm: Studio Gang
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Land Size: - 259,084 sf Zoning: - Special District as part of North Branch Corridor with FAR 6.0 - Minimum 30 feet setback for public access / river walk Concepts: - Extension of 606 under expressway to terminate on site - Connect with Clybourn metra station - Riverwalk development and new water taxi. Program: - 35% of site reserved for open space: 90,680 sf - Commercial: 500,000 sf - Residential: 350,000 sf - Retail: 70,000 sf - Parking Requirements: 0.5 spaces per residential unit 1 space per 5,000 sf commercial space
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Because of the site’s location along the Chicago River, there is not a strong adherence to the Chicago grid. A superimposition of the Chicago grid was followed to inform the design. With the activation of the Chicago grid on the site comes not just a formal influence, but also the abstract influence regarding the embedded history of democracy in America from the Chicago grid. In order to keep a relation between the development and the immediate site, another regulating system was derived from existing site features, such as streets, and the natural feature of the Chicago River. The resulting system is more hierarchical compared to the modular Chicago grid. The new superimposition introduces abstract implications to follow in addition to the formal influences of the grids. 113 Historic township plan derived from gridded order from the Land Ordinance of 1785, which was superimposed across America and followed by many cities. 114 Thomas Jefferson, the author of the earlier
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124 Ordinance of 1784. 115, 116, 117 Extraction of Chicago grid dimensions from surrounding city and imposition of the order onto the site. Major axes given a heavier weight and therefore more consideration when informing the design. 118 Derivation of hierarchical grid system from the Chicago River and streets in the immediate context. 119 Plan diagram of residential and commercial buildings defined by the modular Chicago grid. 120 Plan diagram of retail buildings defined by the hierarchical order of the immediate context. 121 Composite diagram of both ordering systems and their influences on the development’s massing. 122 Chicago grid. 123 Hierarchal grid system derived from site conditions. 124 Development massing with emphasis on the residential tower because of its design and development being the priority of the integrated studio. 125 Underground parking plan. 126 Ground level plan. 127 606 extension level plan.
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Chicago Studio
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The residential towers follow the order of the Chicago grid, which orients the inhabitants to the rest of the city. Doing so emphasizes the idea of equality and democracy in modular systems. Because of this relation to modularity, the residential towers follow a rigid steel structure, contrasting the concrete structure of the lower retail floors. The duality of modular grids, as they are simultaneously heterogeneous and homogenous devices, is addressed through the allocation of residential units and amenity spaces within the grid of the towers. 128 South elevation of residential towers. 129 East elevation of residential tower. 130 Building section revealing steel structure of residential tower and concrete structure of retail. 131, 132 Residential floor plans showing the column structure. The structure, like the grid defining it, derives its dimensions from dividing the Chicago grid down to a rational distance between columns (21ft). 133 Residential floor plan with amenities. 134 Section perspective of duplex units that presence the square module on the faรงade. 135 Section perspective of single story apartment units with protruding balconies and amenity floor. 136 Technical detail of balcony connection to the steel structure. The inclusion of the balcony is an expression of the infinite influence of the grid.
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The lower floors of the development are intended to have a stronger relation to the immediate context, so the majority of programs are defined by the hierarchical system derived from the site. Such desire to be an extension of the existing site calls for the structures to be constructed with concrete to emphasize the fluidity of the new development within the site. Furthermore, organic features, such as round concrete columns and planters, speak to the order of the lower levels being a more physical, natural influence on the development. Doing so contrasts the abstract ideas concerning the order of the higher, residential and commercial towers. 137 Ground floor plan showing concrete column grid of the retail spaces defined by the hierarchical grid. The lobby of the residential tower, which, defined by the modular Chicago grid, is in conflict with the hierarchical system. 138, 139 Perspectives from the two major axes depicting the experience of buildings defined by conflicting grid systems and therefore protruding into the walkways. 140 Experiential rendering of the entrance to the residential lobby from the private walkway. The 606 can be seen extending over the private walkway emphasizing the overlapping occurring on the site. 141 Experiential rendering of entrance to the residential lobby from the public street depicting the shift in orientation from the hierarchical grid system to the modular Chicago grid. 142 Collage of public space and retail on the lower floors along with the 606 level of the development. 143 Explosion of floors showing how the conflicting grids influence the space formally and programmatically.
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1 Year This thesis began as a study of grid systems: the anatomy of them, how and why they’re developed and used, and the implications of using them. There are different and analogous parts of grids across disciplines that use the grid as an organizational device. In graphic design, grids are 2-dimensional, somewhat finite, and require additional parts for different types of designs. Using grid systems in this manner makes them seem to have parts that would otherwise make the system hierarchical. However, the repetition of these parts across the many pages of an editorial, for example, make it a part of the modular system. In Architectural design, grids should be considered in 3-dimensions, and are often dependent on the structural system, which are often simplified to the essence of the grid. I explored these concepts of grids through T-pin models. The interstitial spaces within the grid systems themselves and the interstitial space created in the physical manifestation or object defined by the grid became my focus as it is a source of ambiguity and complexity within design. Interstitiality can be understood as the relationship between established entities in a system, whether it’s a modular or hierarchical system. However, between systems, interstitiality can be interpreted differently, creating
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conflicts. This thesis seeks to explore the intricacies that occur as many systems, specifically grid systems, are imposed on a site. The conceptual implications of such systems, whether they’re political, economic, social, or historic, are being addressed in my design as much as the physical, formal influences of organizational systems. 144 Original grid used to order the first iteration T-pin models, which were more sculptural than architectural objects. 145, 153 The products of the original system, which were more concerned with lexical relationships within architectural languages than order, and explored contradictions in the function of T-pins as temporary fastening devices. 146, 147 Before and after models of the same composition but defined by different orders. 148 Collage drawing of new order derived from the dimensions of T-pins. 149 The new order simplified to it’s essence. 150 A compound of the more appropriately ordered T-pin models. 151, 152 Formwork of T-pin models. 154, 155, 156, 157 Iterations of the new T-pin models following appropriate order. 158 T-pin model showing the physicality of the grid system when manifested in reality. The thickness of materials causes ambiguity regarding which datum is dominant within the grid system, differentiating coordinate axes and edges of channels.
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I want to test my thoughts on interstitiality with the existing M9A competition. The site is located within the Rive Gauche neighborhood of Paris and is designated for a University of Chicago mixed-use/ educational facility. My design of the facility addresses the modular layout of the city of Chicago as well as the hierarchically laid-out plan of Paris and the abstract implications of both orders. Where these orders are in conflict with each other can be understood as areas of interstitial relationships. 159 The M9A site along Avenue de France. The existing structural grid to be built upon can be seen in the beam structure. The load points are concrete factors and must be rigorously followed as the site is situated above many lines of train tracks and a train station. 160 View of site from down Avenue de France. Photo courtesy of Theresa Moriarty. 161, 162 The train station platform
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views from model. 163 Composite images of a drawing and a hand-made model of the existing structural grid to be built upon. 164, 165, 166 Disassembly of site model to provide transparency and an understanding of the logic of the site and eventual design while presenting. 167 Extension of load points with columns and beam depths required to span the distances between load points provide the physical grid, which determines and orders the development’s form and location of programs. Smaller programs requiring less interstitial space may be located within the structural grid where beams aren’t required to span as far between columns, while larger programs take advantage of the required floor depth to make more grand gestures. 168 Massing of the development from the east, above Avenue de France. 169 Skeletal massing of development as viewed from the east showing a section cut through the entrance to the train station and train platforms.
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170 Reflected oblique drawing revealing the skeletal structurecommunicating the idea of reflection and transparency, which is a characteristic of Paris considering Francois Mitterrand’s implementations for Paris. These qualities are also indicative of interstitiality as they are representing visual distances and separations. Such an acknowledgment of the iconic transparent architecture introduces a political dimension to the design. 171 Screenshot from Jacques Tati’s Playtime (1967). Tati utilizes the phenomenon of reflection to communicate context in his film, Playtime. Of course in this instance, Tati explores the concept in a humorous manner, in which the historic, iconic city is only present in the reflection of the modern. 172 Reflection of surrounding buildings in the glass of the existing pavilion above the train station.
Although there are more abstract interpretations of the concept of interstitiality, there is still to be considered, the understood term of interstitial space. Relating to the inter-floor and inter-room spaces, populated with mechanical, electrical, and plumbing systems, interstitial space is a necessity in the architecture. Considerate treatments of the literal interstitial space can richen an individual’s experience within a space, beyond the thermal comfort that the HVAC system may provide. 173 Building section. 174 First floor retail. The attention of these floors is meant to be on the products being sold in the retail area, so drop ceilings may be fitted to hide the MEP systems from patrons. 175 Double height Parisian arcadelike cut-through following one of the major axes in Paris’s plan. 176 Entrance to train station. 177 Second, third, and fourth floors of development house educational programs such as classrooms, library, amphitheater, offices, and study spaces. The Program of these floors is mainly educational, so the MEP systems may be exposed as an architectural, teachable moment. 178 “Grand Room” located above, and providing a view down, Avenue de France. This area of the development is intended to be used for balls and gatherings, so the “less attractive” MEP systems would be covered by a drop ceiling or like fitting as to not distract from whatever activities may be taking place. 179 Roof terraces providing outdoor green spaces, which would require deeper inter-floor space to allow for the planting of small trees. 180 Residential tower exploring the idea of the repeated floor plan in high-rise designs as “virgin sites,” so interstitial space between floors can be interpreted as being endless voids.
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The grid, as a device, aids in the orientation of an individual, whether that’s through establishing familiarity with the layouts in a book or magazine, or providing a logical order within a city in a way-finding manner. This aspect of grids can still be an essential reason for breaking a grid. Precedented in cities such as Paris or Rome, axial boulevards were carved into or planned within cities connecting monuments and landmarks in an attempt to beautify the city, subsequently providing a sense of orientation within the city. Especially in the case of Paris, these boulevards destroyed the existing order of the city by introducing a new system. Although breaking or abusing an order defies the system, it may still retain the abstract aspects of such order, or provide a bridge that allows multiple systems to co-exist. 181 Plan oblique drawing displaying the axial arcades on the retail/ ground level of the development, which contrast the gridded streets of the surrounding context and provide shortcuts between corners. 182 The “body” of the development housing educational facilities. The corners of the building take on more prismatic forms, which obstruct from the existing street grid and deviate from the vernacular of the context.
However, these contrasting geometries, in conjunction with the reflective quality of the curtain walls, reflect the image of Parisian landmarks, mainly the National Bibliotheca in the large, sheared surface above the train station entrance, orienting one within the city. 183 The first repeated floor plan of the building contributing to the lower half of the tower. These apartment style units house faculty, graduate students and guests of the university. 184 The second repeated floor plan of the building contributing to the upper half of the tower. These dorm style units house undergraduate students and each floor contains a lounge, communal kitchen, and communal bathroom. 185 Panoramic view from the “Grand Room” down Avenue de France. 186 Panoramic view of Paris from infinite floors above the Earth. 187 Model photo highlighting the Place de la Nation axis. 188 Model photo highlighting the Hospital of Saint Maurice axis. 189 Model photo highlighting the Catacombs axis. 190 Model photo highlighting the Cemetery Kremlin Bicetre axis and pedestrian traffic at the corner of the development near the Bibliothèque François Mitterrand Paris metro and RER train station. 191 Model photo exaggerating the infinity of the repeated floor plan.
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Graphic Design
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As graphic design chair for AIAS, I encouraged analog methods of designing for event advertisements. Achieving digital qualities through analog methods challenges the design process and sheds light on why certain techniques and qualities are appropriate. Physically interacting with graphic elements and typography on a page gives insight in the function of elements and the design of a typeface. I’ve found that one of the most effective ways to have this physical interaction with typography and design is through Letrasets. However, a static image produced with Letrasets does not always do the process of using this technique as much justice as something that might presence the temporal aspect of Letrasets. So, for a series of lectures by Chris Pritchett, a composition was transferred using Letrasets, then scanned periodically during its creation to produce a subsequent GIF to accompany the stationary designs. 192 A sheet of Clarendon Letrasets. 193, 194 Process photos of transferring the GIFs, which involved Letraseting and printing. 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205 Individual frames from the first lecture GIF 206 Final composition from first lecture. 207 Poster for first lecture, produced by scanning frames from GIF and final composition. 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218 Individual frames from the second lecture GIF. 219 Final composition from second lecture. 220 Poster for second lecture. 221, 222, 223 Other posters produced using analog methods, including: digital photography, scanning a composition of raw materials, and fabric alterations.
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Study Abroad Fourth Year The curation and placement of art within a space are architectural decisions. Such decisions are analogous to those made in film regarding the blocking of a scene. A cinematic approach to architectural design provides an opportunity to introduce architecture to observers through a dialogue with static human figures. These sketches attempt to capture the complexity of the human form and the further meanings that can be drawn from or given to human forms, or sculptures in general, as they are situated within an architectural context.
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224 Neoclassical sculpture at the Art Institute of Chicago. 225 Series of studies of Rodin’s Eternal Springtime at the Art Institute of Chicago. 226 Series of studies of Rodin’s Eve at the Art Institute of Chicago and Toledo Museum of Art. 227 Rafael Moneo’s National Museum of Roman Art. 228 Nic Jonk’s Sun sculpture in San Gimigano 229 Georg Kolbe Sculpture in Stephan Braunfels’ Pinakothek of the Modern. 230 Con Grande sculpture in Carlo Scarpa’s Castelvecchio. 231 Carlo Scarpa’s Castelvecchio. 232 Piccolomini Library in Siena Duomo.
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